魏如萱waa wei〈普通的日子〉（电影「深度安静」宣传曲）单曲文案 沈可尚导演首部长篇剧情电影《深度安静》 张孝全、林依晨、金士杰主演 入围第62届金马奖七项大奖 改编同名短篇小说 以影像书写压抑内敛的破碎关系 魏如萱词曲创作 电影宣传曲〈普通的日子〉 携手黄少雍联合制作 以声响弦乐书写歌曲 堆栈日子里最缄默窒息的情感暗角 普通的日子 是 在不确定的日常里 窥探幸福的模样 诘问真相的过程 普通的日子 是 当他人举证历历 爱人的模样 我们却 深度安静 魏如萱〈普通的日子〉（电影「深度安静」宣传曲） 1.21 数位单曲 正式上线 电影《深度安静》由瞿友宁、黄茂昌监制，沈可尚导演。沈可尚导演作品横跨剧情、纪录、实验电影及商业广告，电影《深度安静》是导演从影近二十年来首次挑战剧情长片，融合了纪录片的美学与对人性的深刻观察。 而相识多年的瞿导和魏如萱，这次更因监制瞿导邀约为电影亲自谱写、演唱宣传曲〈普通的日子〉。魏如萱谈及创作回想起电影《深度安静》里的日常场景和对话，电影重现了真实生活里的细节，也因为这样，角色反而变得非常鲜明。更惊艳张孝全和林依晨的演出，她感受到的不是在表现情绪，而是把情绪藏起来，却还是让人看得见。 魏如萱：「尤其是那些『明明彼此相爱，却同时压抑、却又无法解决』的时刻，让我很有共鸣。那种无奈不是大声的，而是慢慢堆积的。」 魏如萱也用自己的方式形容「普通」的定义，也许大部分的人都想让自己活得特别，但她觉得「普通」这两个字，对有些人来说反而是一种难以达到的奢侈。所以才写下那一句歌词「普通的日子要怎么普通的过。」 那其实是一个疑问，不是一个结论。 当时间隐藏幸福 刺进沉默和孤寂 追索情感真相的窒息感 一触即发却又随即消声匿迹 〈普通的日子〉由魏如萱词曲创作，再与黄少雍共同制作。在编曲上，让声响和弦乐一直存在，魏如萱形容，甚至有些声音是「不那么好听」的，它们像是情绪的重量，一层一层迭上去，但又没有真正的爆发。刻意不把情绪推到高潮，让整体停留在一个内缩、被压住的状态。这样的声音设计，其实是在对应歌词里那种说不出口、连自己都不太确定感受的日常。 而魏如萱心里想象的「普通的日子」，其实是一种表面看起来一切正常，但内在却有很多话没有被说出口的状态。那是一种压抑的孤寂，不是孤单，而是你身边有人，生活也在往前，但你还是感觉自己被卡在某个地方。在聆听上歌曲呈现的氛围比较低调、内缩，也让人有一种被包住、却无法完全呼吸的感觉。 制作人黄少雍形容：「所谓的『普通的日子』，就是外表看起来一切如常，但很多情绪只能留在心里，静静地过。」 普通是日子的奢侈升级 是验证幸福的附件 抽丝剥茧明天的模样 也许都还是徒劳 关于幸福或悲伤 我们都还未找到答案 在电影《深度安静》里以一段看似幸福的婚姻揭开故事序幕，相对现实生活里的魏如萱来说，幸福比较像是一种很安静的状态，甚至有时候安静到你不太敢确认那是不是幸福。 两个人手牵着手，无论是睡觉或是散步或是坐车，即使手没有牵着的时候，你还是会把那个重要的人放在心上。场景是日常，状态是如常，一种你能不能自在又放松的在对方面前保持安静的模样，普通平凡却最深刻的那种幸福。 〈普通的日子〉这首歌里用了大量的问题堆栈对爱或幸福的想象和疑问，魏如萱说：「其实我自己也还没有答案，但我想，也许能够诚实地承认『我不知道』，本身就是一种很靠近幸福的样子。」

“There was basically an urgency to this record. It came out of me in this furious burst,” Florence Welch tells Apple Music’s Zane Lowe of Florence + the Machine’s sixth full-length. “And it’s one of those records where if I hadn’t have put it out now, it never would’ve come out because I think how I felt about things is so specific to this moment in time, and this roared out of me. It was made almost like a coping mechanism.” That moment in time began for Welch during the <i>Dance Fever</i> tour. “I actually ended up having a ectopic miscarriage onstage that was dangerous, and that I had to be hospitalized for, and I had to have immediate surgery because I had a Coke can of blood in my abdomen,” she explains. Her health crisis and ensuing feelings fueled <i>Everybody Scream</i>, which offers a haunting yet cathartic experience for both the singer and those listening. “I felt so out of control of my body, it was interesting,” she says. “I looked into themes of witchcraft, and mysticism, and everywhere that you looked in terms of birth or stories of birth, you came across stories of witchcraft, and folk horror, and myths.” Infusing those elements throughout the album, Welch wails, warbles, belts—and, yes, screams—with emotional clarity and appropriately witchy charisma while getting quality assistance in the form of Mitski, Aaron Dessner, and IDLES guitarist Mark Bowen. The title track muses on fame and pushing through the pain to perform: “But look at me run myself ragged/Blood on the stage/But how can I leave you when you’re screaming my name?” Conjuring up a bacchanalian forest rave, “Witch Dance” casts a spell with its heated pace and Welch’s breathy chants. And for the singer, “Perfume and Milk” helps alleviate her own agony. “It was about healing and having watched seasons change and having watched other things growing and then returning to the earth and a sense that I was also part of that nature and part of that cycle,” she says. <i>Everybody Scream</i> ends with the stirring “And Love,” striking a hopeful note: “Peace is coming” she repeats on the ballad. “Let this one be the one that comes true,” she says. “Let this one be the one that is realized in the world. I think the songs are always three steps ahead of me. It’s been that way my whole life.”